,' TE ts" \ r ::.",.,,, . :: : I i :,' 'Af.\> $:'/J. ,'\ c (; /Ij "'i:: . 1 ' Y' çl,J 'r-. D: I. : ,/ . "' ""', .:: <t.. ;i-Jfj4. J. j"'!o "'"\ 't' ;4, \' \. 1 ;{{ ;;: '.. /. ,,- , \ c;, ..) : ' 1 0J.& f. MARTELl. -I } ' .. ':Jr.-Y", : "\l .,:'; v... .. 'Ii. \ '<:::" '. .1 \:t'" :\\ '.- . I : , 1 : : ;::.::....:;1 ...;:. , -.;-.;; .. '",. / : . kJ.;> /'. :"-I\t COQlfAC_FICAIiC& -.,. . l' ()ftp'r 1LFORD rto(pOR1' C .'. , !Ii!:".. -' "II :,::<:. .. O'-t ,,"'" .YORK . S ,. . \1f,(Iii"TS PO"tà, J ' 1 ; 70 I.:.:'. .' . -.' .- . . . , . . , , , . ' --.. . - .... .". .." - . ." ".. . . -. . ".. . ;.;": ."' '. .-'.: :', \r ;i it Ancient aub71onoura1>lt tle ....... : ?: . .:v.,:. i- t ';., l' ^:':-. - ...:.:-...,; -.;. .. ....... , '" .<C.' J F :RA::N C E tWte fr tie v me a! · pøv&l ;'9E:1:.iJ ,-: .,., . ; ð;; '...'.' .... ;;. . "." ..... -. .-." ." . i: . "\-- ......",.,. Jt':J,g::: : I ;(' . ., ;;: , . ', ,:, ;,,' . .';'" ." \- ,:'. . ",'" "'*-' " 'I. 1.,-. ,.... .L\1\\ :-i,'0"7. ,.0 x; 0" .' ;} : . ; . ; P: ,;:1 ' " :;':\', '," " ':':': '___-:':O:=::O '.' .. . ;.:. :- ": .1.:\,\ o:t. " _,.. ,\ : ;.: :. . '.' " 'I' <'\\\.. :.. . . ."" : . .. ? ç'''''' The C'oice of Gentlemen SINCE 1715 PARK & TILFORD Import Corp., New York, N. Y. ::=:-' '.:' .,:=: W O S :::. -;:: ;::=- ì:.; . ;'; . .::":,:-=== > :-- . '; .. }'. f . 84 PROOF pears with a series of oils at An Ameri- can Place, these the fruit of a visit to Hawaii she made last winter at the be- hest of the Dole pineapple people. In her case one can't help feeling that the change of scene had almost no im- mediate effect on her style or on the tone of her paintings; the centre of a flow- er and the sensuous folds of a hill seem to call forth the same response in her whether they happen to be observed in Taos, in New England, or in Hawaii. But ü'Keeffe is a deeply introspective artist, and it may be that as she digests her Hawaiian experience more fully, more positive effects of it will appear in her painting. Meantime she offers a col- lection of canvases which, though they present little new in mood or in subject matter, are rich in her own subtly fem- inine charm. No one else, I think, can make broad areas of a single color seem to sparkle with such life and endless in- terest as she can. A couple of pieces- both called "Fishhook from Hawaii" and both, save for the twist of wire at the centre, one wide, clear expanse of melting blue-are real tours de force in that direction. Among the flower paint- ings, her "Cup of Silver" and the big- petalled, pink-and-creamy-white "Hi- biscus with Plumeria" are lovely too, and a view of a faraway cleft in the hills called "Water Fall-No. I-Iao Val- ley-Maui," cloudily green in color and full of secret convolutions, is particular- ly notable. This show may not be very tropical in feeling, but it's a good one. I WAS rather disappointed in the Maillol retrospective (1900-1 38) at the Buchholz Gallery. I'd been look- ing forward to seeing it, for it's the first comprehensive view of this unquestion- ably great sculptor's work we've had here in almost ten years. Perhaps it's partly the arrangement of the show that is at fault, for certainly the pieces are too crowded to be seen at best advan- tage, but I feel that a part of the blame must go to Maillol as well. An impec- cable craftsman, a man of exquisite taste and sensibility, an artist so thoroughly schooled in the classic Greek tradition that one almost feels he is Greek and the present-day things around him are mere anachronisms, Maillol may be, just because of all this, a little too perfect for collective showing. Though a single Maillol can strike you breathless with its flawless beauty, that very flawlessness can make a group of his works seem chill and uncommunicative. In spite of every- thing, however, it's a show to be seen. Perfection, after all, is better than the lack of it. -ROBERT M. COATES